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Of joy and sorrow so extreme
Apr. 21st, 2020 12:25 pmDay Nineteen of the fandom meme asks:
S: Show us an example of your personal headcanon.
This one is deeply silly, but it's one I came up with when I was a teenager and for which I still retain a lot of affection: Allyman and Presh escape from Galax Arena and wind up working for Cirque du Soleil's show Alegría. (This was, of course, my attempt to create a crossover between two of my oldest and dearest fandoms: Galax Arena and Cirque du Soleil.) Why Alegría specifically? It happened to be the show which had most recently toured Australia in the year I came up with the idea, on one of my endless rereads of Galax Arena during a holiday when my mother, sister and I were staying in a holiday rental flat in Coogee. (This was the same holiday when I got incensed with what I perceived to be a poor quality newspaper review of The Amber Spyglass and wrote this extraordinarily pompous letter to the literary editor of The Sydney Morning Herald, accusing her of not reading the books she had reviewed. Teenage me was ... something else.)
But getting back to Presh, Allyman and Alegria: I came up with this hugely elaborate character and narrative architecture to support this headcanon, complete with Presh feeling utter contempt for the Alegría performers because they actually cared about safety and performed difficult tricks with wires and safety nets, and Presh having something of an emotional crisis because she'd never relied on anyone else as a circus performer in the Galax Arena and didn't trust anyone but herself (and to a certain extent Allyman) and had enormous difficulties coming to trust her fellow performers, and the pair being continually hunted by the shadowy organisation that ran the Galax Arena, etc etc.
One of these days I should make the effort to write this thing, if I felt I could do it justice — but mostly it's just a lot of unfocused emotion about Presh as a character. I just love her so much, and have done since I was ten years old.
( The other days )
S: Show us an example of your personal headcanon.
This one is deeply silly, but it's one I came up with when I was a teenager and for which I still retain a lot of affection: Allyman and Presh escape from Galax Arena and wind up working for Cirque du Soleil's show Alegría. (This was, of course, my attempt to create a crossover between two of my oldest and dearest fandoms: Galax Arena and Cirque du Soleil.) Why Alegría specifically? It happened to be the show which had most recently toured Australia in the year I came up with the idea, on one of my endless rereads of Galax Arena during a holiday when my mother, sister and I were staying in a holiday rental flat in Coogee. (This was the same holiday when I got incensed with what I perceived to be a poor quality newspaper review of The Amber Spyglass and wrote this extraordinarily pompous letter to the literary editor of The Sydney Morning Herald, accusing her of not reading the books she had reviewed. Teenage me was ... something else.)
But getting back to Presh, Allyman and Alegria: I came up with this hugely elaborate character and narrative architecture to support this headcanon, complete with Presh feeling utter contempt for the Alegría performers because they actually cared about safety and performed difficult tricks with wires and safety nets, and Presh having something of an emotional crisis because she'd never relied on anyone else as a circus performer in the Galax Arena and didn't trust anyone but herself (and to a certain extent Allyman) and had enormous difficulties coming to trust her fellow performers, and the pair being continually hunted by the shadowy organisation that ran the Galax Arena, etc etc.
One of these days I should make the effort to write this thing, if I felt I could do it justice — but mostly it's just a lot of unfocused emotion about Presh as a character. I just love her so much, and have done since I was ten years old.
( The other days )